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He is thought to have established the archetype suiboku-landscape painting style of the Muromachi period. He was a painter beholden to the Ashikaga shogunate and was extremely successful during his lifetime and after, but no paintings confirmed to be his work have survived.\n   Among the landscape paintings on folding screens passed on as Shūbun's work, this piece is thought to be an early one in the old style of painting. As for the motifs, for example, the creek and the bridge painted on the second panel from the right in the right half of the painting, the cave next to them, and the two persons facing each other are motifs associated with Ka kei (Ch: Hsia Kuei), a painter during the southern Song period. It is highly likely that other motifs are also taken from imported Chinese masterpieces. The author appears to have constructed the picture expecting that it would be appreciated by the viewer with the simulated experience of Chinese masterpieces by virtue of those motifs.\n\n","@language":"en"},{"@value":"周文活跃在15世纪中叶的京都相国寺，被视为成就室町时代水墨画式样典型的画家。身为侍奉足利将军家的御用画师，虽然周文生前得到了极高的评价，但是确实是他本人所绘的作品却没有流传下来。\n本图也被看做是在众多据传为周文所作山水图屏风中展现古代风格的初期的范例。所表现的主题，例如右手屏风右起第二扇所描绘的流水和小桥，以及其左边相邻接的洞窟与面向洞窟的二人，都是基于南宋时代的画家夏珪的表现主题。其他的表现主题也一样，借用舶来的中国名画的可能性非常高。也许作者是在鉴赏中国名画的前提下，模拟中国名画进而构图的吧。\n","@language":"zh"},{"@value":" 슈분은 15세기 중엽 교토의 쇼고쿠지에 거점을 두고 활약한 무로마치시대의 수묵산수화 양식의 전형을 만든 화가로 알려져 있다. 아시카가 장군가(家)에 소속된 화가였으며 생전부터 매우 높은 평가를 받았으나 그의 확실한 작품으로 남겨진 것은 없다. \n 이 그림은 슈분의 작품이라 추정되는 산수도 병풍 중에서도 오래된 것으로 초기의 작품으로 보여진다. 작품의 모티브는 예를 들면 오른쪽 병풍에서 오른쪽에서 두번째 병풍로 그려진 수류와 다리, 그리고 그 오른쪽에 인접해 있는 동굴과 동굴 안에서 서로 마주보고 있는 두 사람이 남송시대의 화가 하규에 근거를 둔 모티브이다. 다른 모티브와 동일하게 선박으로 운송된 중국 명화로부터 차용되었을 가능성이 높다. 중국 명화를 미리 체험하기 위한 감상을 전제로 하여 작가가 그림을 구성했을 것으로 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